Archives par mot-clé : cultures visuelles

10th InASEA Congress in Graz, Southeast European History and Anthropology

Graz, Austria 24-26 September 2020

Southeast European History and Anthropology, University of Graz

***Extended Deadline 28th of February 2020

Visual Cultures in Southeast Europe: globalization, gender, power and resistance Call for Paper/Panel

Visual representation has been crucial in shaping the understanding about people, cultures, resistance, class, gender, ethnicity and more. In the digital era, also called the age of social media, and hypermediacy this has become even more evident as societies create and are confronted with images and multiplicities of representations ever more frequently. The overall visuality has economized the written text in order to be more efficient in reaching certain audiences. Visual cultures today have no place or space of origin; they are migrating globally and are understood and interpreted locally. Visual cultures, as practices and manifestations of life that are expressed through visual aspects and interpreted through individual and shared experiences, will be considered at this conference through special focus on globalization, power, gender and resistance. Therefore, “Visual cultures in SEE”, are unfolding in this tension between the local and the global.

Representation is an essential part of the process by which meaning is produced and exchanged between members of culture, through the use of language, of signs, and images which stand for, or represent things (Hall, 1995). Images are not neutral artefacts, simple documents captured by a lens (or an artist). Images are socially constructed within specific regimes of truth (Foucault, 1986) offering indications of the relationships of power and producing them in constant play. Visual representations in popular culture – an ever-expanding concept that looks to popular television programming, newspapers and magazines, books as well as digital services, video games, social media, art, music and sports and other everyday practices and things – are a prolific agent in mediating gender, race and class relations, among other things.

Cross-media aspects of visual cultures make it a large site for contested secular and religious views of identity and power. The region of South-eastern Europe is represented, at home and abroad, through its peripheral position to Europe, a long-term state of transition and high levels of contestation. Visual cultures have taken a larger role in social science and humanities reflecting the everyday lives of every one of us. Visual practices were and continue to be central to resistance. If visual cultures continue to flourish in the same manner as they have in the last hundred years, can we imagine what could future look like?

Visual anthropology isn’t only ethnographic films and photography, it is as MacDougall said „any of the expressive systems of human society that communicate meanings partially or primarily by visual means (MacDougall 1997, 283). From the field of visual anthropology, this conference encourages collaboration with other disciplines such as sociology, history, urbanism and architecture, art history, media, film and photography in order to draw upon issues of gender, resistance and power in the context of SEE.

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Visual Salonica

Journée d’études Visual Salonica. Jalons pour un projet de recherche collectif sur les cultures visuelles à Thessalonique. Premier atelier consacré à la période 1912-1945 

Jeudi 16 mai 2019,  9h-18h, entrée libre

Institut national d’histoire de l’art (INHA) –  2, rue Vivienne ou  6, rue des Petits-Champs, Paris 75002

Selanik, Salonique, Thessalonique est, au tournant des XIXe et XXe siècles, un lieu de vie et de côtoiement de Grecs orthodoxes, Turcs musulmans, Dönme, Serbes, Bulgares, Arméniens grégoriens, Albanais, Tsiganes et, surtout de Juifs sépharades particulièrement nombreux – une mosaïque de communautés dont témoignent, en langue française, les travaux de Meropi Anastassiadou. Or la ville semble entretenir un rapport fusionnel aux images reproductibles fixes et animées. Cette relation que nous postulons intime et particulièrement marquante, nous paraît prégnante durant une longue période de bouleversements politiques, culturels et sociaux couvrant a minima la fin de l’Empire ottoman, l’avènement de l’État grec moderne jusqu’à l’annexion nazie même si l’après-seconde guerre mondiale (de la guerre civile à la metapoliteusis) mériterait d’être envisagé.

Le programme est disponible ici.